Matter’s (supposed) rawness obtrudes within a sensory field structured, perhaps, by semiosis (not always) but no less by performance — itself always already swathed in, sucked or debted into, arranging economies of sensation. So any particle’s transit may or may not come to rest or relative completion in a performative act. Acting assigns bodies, nonbodies, and monsters their ontological categories. Furrows of animacy — auditory surround or any group of persons around a scene — carve out, sometimes ritually but also virtually, those ranges of action. What is primary is sensation and what can be done with it among others

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